Istanbul-based Gulay Semercioglu forms geometric, 3-dimensional compositions by weaving thin vibrantly colored metal wires on to a wooden plank. More than twenty layers are created from one long piece of metal wire wound around numerous nails. The results are abstract, perhaps even meditative, works inspired by the shapes of microorganisms, simple leaf forms, mountains, and even water. Light and perception play a significant role in Semercioglu’s oeuvre. The aluminum knit works transform visually as light reflects off the work at different points according to the time of the day and the viewing position.

Ran Hwang, a Korean-born artist working in New York and Seoul, is best known for large-scale wall installations in which buttons, pins, beads and thread are used to create silhouette images of traditional Korean motifs such as vessels, falling blossoms or caged birds. For Art Miami Hwang has created Ode to Fantasia, a 150 cm blossom work.

Texan Rachel Lee Hovnanian’s Reflection works from the Reflections of Narcissus series consist of multi-layered and textured metal paintings which gleam with lavish metallic leaf on linen. Currently based in New York, Hovnanian examines how individuals look for themselves in objects that fascinate them. The works play with its viewer’s perception of narcissism and the preservation of the self.

The multi-dimensional works of Hadieh Shafie resonate with the tradition of calligraphy and design repetition in Persian and Islamic art and architecture. The realization of each composition is a painstaking process; resulting in art bursting with color, figure repetition, and the constant invocation of the Persian word “eshghe” (love), ultimately echoing the essence of a Sufi meditative prayer. Displayed in concentric circles, Shafie’s work invites the viewer to become immersed in the color of the scrolls, capturing the spirit of the prayer.

“Semerciglu, Hwang, Hovnanian, and Shafie are similar in their approach to technique in terms of repetition,” says Lauren Pollock, director of the gallery. “In both Hadieh and Ran’s work the use of repetition is also meant to evoke a sense of meditation (the influence of Zen Buddhism for Ran and Sufism for Hadieh). These four artists works are also very tactile, each of them occupying more of a 3–‐D than 2–‐D space.”

Farideh Lashai’s Catching the Moon, a continuation of the artist’s Rabbit in Wonderland series, is a video projection into a water–‐well of stainless steel. In the work, the rabbit of the artist’s narrative sees its own reflection in a water well, then sees a moon and jumps in an attempt to catch the reflection of it. Finally the rabbit catches the moon, and the rabbit and moon become one–‐–‐ one speeding sparkle like a shooting star, enlightening the root of a tree that twinkles upwards through all its branches.

Also on view will be Tehran–‐born, Berlin–‐based artist Leila Pazooki’s Moment of Glory. This conceptual installation of neon signs distills art–‐review prose from the internet, ultimately consisting of more than a dozen cold, flashing half–‐sentences. They read: “The India Damien Hirst”, which was used in an article in reference to artist Farhad Moshiri, “Japan’s Andy Warhol”; “African Anselm Kiefer”; “Chinese Gerhard Richter.” Pazooki’s multi–‐colored tube writing reveals the parallels that are too easily drawn between some great names in Western art history and contemporary artists from Africa, Asia and the Middle East.